The Wild Party at Playhouse on Park is seductive, sexy, and scandalous—three words that perfectly capture this electrifying production. If you're looking for a steamy summer night at the theater, look no further. Andrew Lippa’s The Wild Party, with book, music, and lyrics by Lippa, is based on the poem by Joseph Moncure March. Directed by Sean Harris and choreographed by Darlene Zoller, the production was originally developed at the National Music Theater Conference held at the Eugene O'Neill Theater Center in Waterford, Connecticut, in 1997. This early workshop featured Kristin Chenoweth and laid the groundwork for the 2000 Off-Broadway premiere.
Set in 1927, The Wild Party plunges audiences into the decadent nightlife of the Roaring Twenties. Queenie (Mollie Downes) and her volatile lover, Burrs (Trevor Bunce), decide to host an extravagant party in hopes of reigniting their fading romance. What begins as an evening of indulgence quickly spirals into something far more dangerous when the mysterious Mr. Black (Cory Simmons) enters their world, forcing Queenie to choose between the dysfunction she knows and the possibility of a new future.
Queenie balances glamour and vulnerability beautifully, revealing the loneliness beneath her dazzling exterior. Her journey becomes surprisingly relatable despite the extravagance surrounding her. Downes' physicality and confidence shine. She owns the stage at every turn.
Playhouse on Park's intimate three-quarter thrust stage places audiences directly inside the action. There is little separation between performers and spectators, making the production's moments of passion, violence, and vulnerability feel immediate and immersive, amplified by Matt Weisgable’s lighting design and Micah Ohno’s sexy and historically accurate costumes. While some scenes may push audience members outside their comfort zones, that intimacy is precisely what gives the production its emotional power.
The guests at The Wild Party are as colorful as the production. Among the partygoers are entertainers, socialites, and members of New York's underground scene, including openly gay men and women, reflecting the diversity that existed within the city's artistic circles. Particularly noteworthy is the inclusion of the bulldagger lesbian, Madelaine True (Kathleen Cameron), whose masculine style offers an authentic glimpse into the Harlem Renaissance, when traditional gender expression was beginning to be challenged in more public spaces.
The ensemble (Caleb Barton, Lily Bucko, Elijah Martinez, Gavin Leahy, Julia Solecki, Joseph Rafael, Kenneth Galm, Sophia Cantin, Kate Glennon) deserves special recognition. They function like a perfectly tuned machine, responding to one another with remarkable precision. Their choreography, timing, and countless subtle interactions create a living, breathing world that extends well beyond the principal characters. Every ensemble member contributes to the intoxicating atmosphere of the evening.
Queenie's best friend, Kate (Maddi Bowman), is a late arrival. Her powerhouse vocals are delivered with remarkable precision and emotional honesty, making every number land with tremendous impact. Kate arrives with her companion, Mr. Black, who unquestionably provides one of the evening's standout performances. His rich baritone fills the theater with warmth and authority, drawing the audience into his quiet charisma. His commanding presence serves as the perfect counterbalance to Burrs' explosive volatility, creating a compelling emotional triangle at the heart of the story.
While similar to Chicago in its tone and mood, The Wild Party offers a rawer look at the nightlife flapper subculture of late-1920s New York City. However, the inclusion of the eleven o'clock number, "Let Me Drown," sung by Burrs, a vaudeville clown, comes far too close to evoking "Mr. Cellophane" from Chicago.
This is not a musical for the faint of heart. The Wild Party confronts sex, desire, abuse, and power head-on, even including a disturbing scene of sexual violence that underscores the darker realities beneath the era's glittering façade. As the night unfolds, each guest surrenders to their deepest desires, creating a portrait of excess that is both captivating and unsettling.
Ironically, I attended a 10:30 a.m. matinee alongside a large group from a senior living community, and they embraced every deliciously scandalous moment. Their enthusiastic response was a reminder that audiences of every generation appreciate bold storytelling when it is executed with honesty and artistic integrity.
With burlesque performances and immersive nightlife entertainment growing increasingly popular, productions like The Wild Party may be exactly what regional theater needs to attract new audiences while still satisfying longtime patrons. This production refuses to play it safe, and it is all the better for it. It is fearless, provocative, and unapologetically theatrical.
Perhaps most satisfying is the ending itself. Rather than neatly tying every thread together, the production allows its climactic conclusion to linger unresolved. Like a great jazz composition, the story doesn't end so much as it fades into memory, leaving audiences to reflect on its final haunting notes long after the curtain falls.
The Wild Party is intimate, intense, and unforgettable. It's an ideal choice for an adventurous date night or an afternoon escape into a world of glamour, temptation, and danger. Call the babysitter, grab your sweetheart, and experience The Wild Party at Playhouse on Park. It's a theatrical evening you won't soon forget.
The Wild Party runs now through August 16 at Playhouse on Park. You can purchase tickets online at playhouseonpark.org.